Jean Nicolas Lambert

History

Jean Nicolas Lambert (circa 1731-c.1785) was a luthier who worked in Paris, primarily on rue Michel-le-Comte. Sources contain conflicting information regarding his exact working dates; John Dilworth states he worked circa 1731-1761, while Cecie Stainer notes he was working in rue Michel-le-Comte about 1743-85. He was a sworn Master of the Luthiers' Guild for the year 1745, according to Willibald Leo Lütgendorff, and John Dilworth specifies he was Master of the Luthiers' Guild from 1745-1746. His business was continued by his widow until 1788, as noted by Cecie Stainer and Willibald Leo Lütgendorff, and by successors until 1789, according to John Dilworth. Willibald Leo Lütgendorff discusses a claim by Fétis that Lambert lived in Nancy in 1750 and was known as "Charpentier de la lutherie" for crudely assembled instruments; however, Lütgendorff refutes this, citing the fine workmanship of a violoncello in the Paris Conservatoire Museum and an alto from the Snoeck collection, and notes that Vidal could not find evidence of Lambert ever being in Nancy.

Craft

• Instrument Types: Jean Nicolas Lambert was a versatile maker of lutes and violins (Lauten- und Geigenmacher), also producing zithers, hurdy-gurdies (Bauernleiern), and bagpipes (Sackpfeifen), as detailed by Willibald Leo Lütgendorff. He also made violoncellos, altos, cithers, guitars, and Liebesgeigen.
• Violins: His violins were often Amatisé, fairly high arched, and featured a yellow-orange clear varnish reminiscent of Guersan, according to John Dilworth. Cecie Stainer observed a violin of flat pattern with badly cut sound-holes.
• Violas & Violoncellos: Willibald Leo Lütgendorff notes that a violoncello in the Paris Conservatoire Collection and an alto from the Snoeck collection exhibit very fine workmanship. His violas typically have smooth backs and are well-made, with his Liebesgeigen being even better.
• Branding & Labels: He often used a brand mark, "Lambert à Paris," applied internally and externally, in addition to printed labels such as "J. N . Lambert / rue Michel-le-Comte / À Paris. 1745" or "Lambert / à Paris.1783," as described by John Dilworth and Cecie Stainer.

Influence

• Family Connections: Cecie Stainer suggests he was possibly a brother of another maker in Nancy.
• Stylistic Influences: His varnish work on violins was noted by John Dilworth as recalling Guersan.

Legacy

• Museum Collections: Instruments by Jean Nicolas Lambert are preserved in several European museums, including a violoncello and hurdy-gurdies in the Paris Conservatoire Museum, an alto in the Snoeck collection, hurdy-gurdies in the Musikhistorisches Museum in Stockholm, a zither in Berlin, and a guitar from 1734 owned by Loup, as documented by Willibald Leo Lütgendorff and John Dilworth.
• Business Continuity: His workshop on rue Michel-le-Comte was continued by his widow until 1788 and by successors until 1789, ensuring the continuation of his legacy.

Further Information

• Workshop Location: Jean Nicolas Lambert's premises were located on rue Michel-le-Comte in Paris.
• Guild Membership: He served as Master of the Luthiers' Guild from 1745-1746.
• Label Examples: Examples of his labels include "J. N. Lambert, rue Michel-le-Comte, Paris, 1750," found in a violin, and "Lambert à Paris, 1782," inscribed in a cither, as cited by Cecie Stainer.